M-Audio BX8s and an M-Audio SBX10 Subwoofer – I’ve had these monitors since 2011, so I really feel confident with what I’m hearing through them. Although I reference through different mediums when mixing, the BX8s really provide a flat frequency response that is true to the source material.

Analog Synthesizers:

Analogue Solutions Telemark – The Telemark was my first step into analog synthesis and a big one at that. It was a lot to wrap my head around at first, but I’m slowly starting to tame it as time goes on. My hope is to eventually build a eurorack system that I can incorporate the Telemark into.

Analogue Solutions Europa Sequencer – Purchased the Europa alongside the Telemark to run external tempo clock to the Telemark.

Moog Voyager Electric Blue – Hands down my favorite piece of gear so far. While monophonic, the Voyager proves to be very versatile in its sound design capability. I tend to use it for bass sounds, but you can get really creative with your routing to come up with great leads or wild sound effects.

Midi Controllers:

Ableton Push – My main midi controller. Seamless connectivity with Ableton Live allows for lots of inspiration when working on music.

Audient asp880 – Using the same preamps as the ASP8024 that I worked on through college, I knew what to expect when purchasing this preamp. The variable impedance switches are a great feature and provide a high level of versatility. I typically have my drums running through this preamp, but will free up a channel to run a vocalist without hesitation. I hope to soon expand my tracking capabilities with a second asp880 to utilize all 16 channels of my Apollo 16.

Amp:

Kemper Profiler Rackmount Amp Head

Headphone Distribution System:

Behringer Powerplay HA8000 – 8 channel headphone amp, great for allowing band members to hear themselves while recording

Microphones:

Yeti Blue – Used as a talkback mic due to its handy mute button

Rode NT1A – Extremely quiet large diaphragm condenser, main vocal mic

Sennheiser e835 – Versatile dynamic mic, usually on snare top

Shure SM57 – Another very versatile mic. Currently on my hihat, but also typically used to mic a guitar cab

Shure PGA52 – dynamic kick drum mic

Shure PGA56 (3) – toms

Shure PGA57 – snare bottom

Shure PGA81 (2) – overhead mics

Instruments:

Pearl 5 piece drum kit

Schecter Stiletto Custom-5

Ibanez RG

Fender American Professional Telecaster

Fender CD-60S Acoustic

Acoustics:

Auralex ProPanels

Auralex StudioFoam

Auralex MudGuard Vocal Shield

Auralex ProPads

Other:

Livewire 16ch Rack – 16 channels running from the live room through the wall into the control room to the asp880

You may think building a home studio has to be this huge project with tons and tons of gear… Well not really. All you really need are a few basic essentials to get started recording music. This comprehensive list will help you get on your way.

DAW

A DAW or Digital Audio Interface is the software you will be recording into. DAW’s share a lot of similarities, but in the end, it all comes down to which suits your workflow best. Most DAW’s offer demos, so download a few and see which one works for you. Some common DAW examples would be Ableton Live, FL Studio, Logic and Pro Tools.

Audio Interface

An audio interface is a piece of hardware that will allow you to connect your gear to your computer. Ideally, you would want to go for the interface that offers the lowest latency possible. The Scarlett 2i2 by Focusrite is an entry-level interface with 2 inputs and outputs. This means you could plug in and record two microphones simultaneously. Once you start recording more seriously, you may find you require more ins and outs.

Studio Monitors

Studio monitors are speakers that offer a flat frequency response which allows for an accurate reproduction of the recording. A good starting option would be a pair of KRK Rokit 5’s. They are both accurate and cost effective.

Headphones

I recommend closed-back or isolating headphones for recording. This will reduce any sound bleeding into the recording. I’d say Sennheiser HD280 Pro’s are probably the most popular and for a home studio, they serve their purpose well.

Microphones

There are many different types of microphones to choose from when starting your studio. Among these are the condenser, dynamic, ribbon, etc. I recommend starting with a dynamic mic as it is quite versatile. A Shure SM58 is one of the more popular options.

Pop Filter and Mic Stand

Along with your microphone, you will need a stand and pop filter. The pop filter is placed in front of the microphone to reduce the popping sounds of plosives like the ‘p’ in plosive. It can also prevent saliva from hitting your microphone.

If this post interests you and you want to learn more then check back here often. I’m going to be updating the blog normally and elaborating on a lot of the ins and outs of studio gear, acoustic treatment and recording techniques. Stay tuned!

After Laughter is the 5th studio album from American rock/pop band Paramore. Released on May 12, 2017, through Fueled by Ramen, After Laughter is a follow-up to their hugely successful self-titled album. After Laughter is produced by Justin Meldal-Johnsen who also produced the self-titled album. To my surprise, they have replaced the fast and loud guitars from their pop punk days for more 80’s sounding, upbeat pop songs. The members of the band have been very vocal about their inspirations for the album, Talking Heads, No Doubt and Blondie to name a few. This wasn’t a turn I was expecting from the band, but I’m on board for the ride as this quickly became my favorite Paramore record to date.

The record opens with the song Hard Times. From the first line “All that I want is to wake up fine…” it really sets a tone for this record. Hayley Williams has been through a lot in the four years since their last release. Jeremy Davis, founding member and bassist, left the band in 2015 after a lawsuit over songwriting credits and even more recently, her divorce with New Found Glory guitarist Chad Gilbert. Due to these events, the album lyrically can be quite depressing when analyzed, but is juxtaposed by a very catchy instrumental on nearly every track.

Following Hard Times, the track Rose Colored Boy carries the shimmery 80’s theme further with an almost cheerleader-like chant, “Low-key, no pressure/just hang with me and my weather”. I feel like this is fitting from Hayley talking about a rain cloud over her head in Hard Times. This track took a very interesting premise; Hayley is basically singing about a boy who sees the good in everything and how we can’t all be like him.

The guitar in Told You So really highlights Taylor York’s guitar playing. He is just all over the place on that track. This album is very rhythmic throughout but this song in particular really nails it.

On the track Forgiveness Hayley sings about not being able to forgive her former partner and for being one of the record’s slower tracks, the chorus is undoubtedly catchy and sounds very HAIM inspired. The background vocals really stand out to me in this one.

The following track Fake Happy transitions nicely out of Forgiveness with a stripped down acoustic intro quickly jumping into poppy synths where Hayley is saying that no one is really sincere in their happiness. Everyone is dealing with something and she believes that others put on a fake smile while battling inner conflict; under her bubbly exterior, she is unhappy. Paramore never fails to write an infectious chorus and Fake Happy is a testament to that.

Then we reach 26, a slowed down acoustic track with a callback to Brand New Eyes. Ultimately a bit of a tearjerker, Hayley urges us to hold on to hope and not let it go. (Hope that it seems like she may have lost over the years?) I love this song, but it feels slightly out of place in the middle of the album. I would have much preferred it closer toward the end to avoid it disrupting the flow of more heavily produced tracks.

Pool, my personal favorite, is a pop smash-hit. Its sound palette is amazing and the mix just sounds so good. The lyrics are also great, putting a dark twist on a love song. The bridge is probably my absolute favorite part of the album.

Grudges talks about rekindling a friendship with Zac and getting over grudges from the past and Caught in the Middle probably one of the strongest choruses on the record that I can only describe as a blend of reggae angst.

The energy on Idle Worship from the first beat easily makes it one of my favorite tracks on the record. I hear a little bit of the old Paramore angst shining through in Hayley’s vocals. This song discusses people putting Hayley on a pedestal and how she doesn’t see herself in the same light.

No Friend, previously titled Idle Worship Outro, isn’t a favorite of mine. It features a guest vocal by Aaron Weiss of mewithoutYou, but you can barely hear what’s being said. I assume was an artistic choice rather than a poor mix. After looking up the lyrics I’ve started to like the song more as it deals with the band’s history, but I feel like this song didn’t fit the album and it’s almost always skipped over when I listen through.

The album comes to a close with Tell Me How, a soft piano ballad where Hayley talks about not knowing how to feel about ex-bassist Jeremy Davis after his departure from the band. I feel like the softer approach was a good way to close out the record by bringing it back down since it was mostly upbeat throughout.

Overall this is a very solid album from one of my favorite bands and a fresh reimagining of their sound. What do you think about After Laughter? Have you been singing along to it in the car all summer like I have? Let me know!